Chuck Wendig: Terribleminds

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Dear Writers And Creative-Types: You Don’t Need Motivation

Write-fail-writeagain

We all have days where we sit in front of the keyboard and we’re just not… feeling it. It’s like trying to dry-hump a cardboard box. It doesn’t feel magical. It doesn’t even feel productive. It feels empty, crass, devoid of any value — mechanical and sad. You can barely even get yourself to make the words happen. Your fingers hover above the keys, or you have the pen poised in your grip and you’re just like:

“Nnnnghyeah, you know what, fuck it. Fuck it all right into outer space.”

You think, I need motivation.

And so you — like I have done and still do today — go in search of that motivation.

You try little tips and tricks. You eat chocolate to reward yourself. You read good books and you read bad books in an effort to urge your own prose forward. You set up your time so that you take 45 minutes to write, and 15 minutes for a social media break. You drink coffee. You read writing advice. You pin up motivational sayings around your office — HANG IN THERE, the kitten commands as it dangles from the branch. Another poster shows a winking beagle puppy telling you how awesome you are. On your left shoulder is a homunculus of me made from beard trimmings and whiskey-soaked book pages and he constantly screams in your ear, ART HARDER, ART HARDER, ART HARDER like some maniac zombie parrot.

Nothing at all wrong with trying to find a way to squeeze a little extra juice out of your writing day. We all get there however we get there and if that means chocolate / coffee / whiskey / motivational posters / screaming wendigs / prostate stimulation then hey, you do you.

But asking about motivation is one of the most common questions I get.

It is, in fact, one of the things you hear about from “aspiring writers” (defined here as writers who do not actually write anything but who sure talk about it a lot). I had a neighbor that explained she too would be a writer someday, and she liked to pull over the car and write whenever she was inspired or motivated and one day she’d find the time to write…

Not the first time I’ve heard something like that.

Won’t be the last time, either.

When I’m inspired.

When I’m motivated.

When I find the time.

These, you’ll note, are external things. They exist outside you. Inspiration, spoken of as if it’s launched square into your face via t-shirt cannon. Motivation, delivered as if it’s a random box from the UPS guy. Time, found laying around like spare change in the couch cushions. (Note that if I found extra time just hanging around, I’d probably do the same thing with it as I would with a twenty I found in my pocket: I’d waste the hell out of it.)

You, just waiting to have these things brought to you.

You, passively beseeching the heavens to deliver you unto the prose.

I gave a talk about this a few days ago, and I prefaced the talk by asking the question:

Which would you prefer:

A present you don’t expect, or a present you do? Meaning, a present given to you as a surprise, or a present delivered by the expected schedule (birthday, Christmas, what-have-you)?

Then, a follow-up question.

Which would you prefer:

A present you don’t expect, or no present when you expect one?

Waiting for motivation or inspiration or time — it’s like expecting a present and receiving none. It’s like waking up on your birthday that nobody remembers, and you stumble around all day hoping that someone will spring out of an alleyway and besiege you with delicious cake or slap a gift into your hands except that doesn’t happen.

Nothing comes and you go to bed, unfulfilled and uncelebrated.

Conjuring little tips and tricks — they work. I know they work. I use them. You use them. But you can also rely on them too much. You can use them to the point that they cease to be tricks and they become cheats — it becomes an act where you are constantly trying to fool yourself into writing. You’re looking for fuel, but can I tell you a secret?

You don’t need fuel.

You generate your own energy.

You generate your own momentum.

You’re equal parts solar panel array and the cuckoo brightness that powers it.

The practical way to demonstrate this is to do what you wanted to do in the first place:

You need to write.

Now, this doesn’t automatically mean to write every day — I personally espouse that as a habit because I come out of a freelance writing background, and I have deadlines to hit and bills to pay and so for the career-driven writer, developing the “write every day” habit has value. But everybody’s process is different, and even some career writers write a few days a week and hit the word count hard when they do. The greatest thing you can do for yourself as a writer is to discover, adapt, and forever hone your process.

No matter how often you choose to write, though, being a writer means —

Well, duh, it means writing.

It’s obvious and reductive and yet bears repeating: writers write. But the value of that is not always so obvious. We assume that writers writing means writers are producing content and that’s the end-all be-all of that reward — you make stuff, and making stuff is cool, so yay to that. That, however, is not where the value ends. Writing builds intellectual muscle. It practices the thing you want to do. It helps you improve. It helps you cultivate instinct. It helps you fail faster, and fail smarter, and failing is a critical component to a creative career — in fact, the majority of the bulk fibrous material that comprises a creative career is pure, unmitigated failure.

To crib the warboy chant from FURY ROAD —

I write!

I fail!

I write again!

Word-Boy! Drive your Word-Rig through the fire tornado of your own doubt! Spray-paint your mouth with black printer ink and leap onto the empty page! Witness! Witness! (If I may quote @lorekeating: “OH WHAT A LOVELY PAGE!”)

But the whole writers write thing earns you another benefit:

Writing motivates you to write more.

That sounds strange, and here you are thinking that you need motivation just to start writing in the first place. But let me tell you — you don’t. Sit down. Put your hands around the throat of the story and just start squeezing. Write anyway. Fuck how weird it feels. Forget failure. You think you suck? Yeah, hey, man, we all suck some days. You start to write, though, it lubricates the gears. It’s like feeling too hungry to eat, but then you take just a bit and the nausea goes away. Writing begets writing. Forcing the motivation forges real motivation. Fake it until you make it.

At the end of the day, it feels somewhat demotivational to suggest that all the little tricks and cheats may fail you in the end — but I’d also hope you’ll take heart that, at the end of the day, EVERYTHING YOU WERE LOOKING FOR WAS WITH YOU ALL ALONG. (hashtag wizard of oz.) You have the power. You have the voodoo. You’ve got the ability to motivate yourself. You needn’t look for external things. You want time? Grab it. You need inspiration? Drill it up out of your own heart. You want motivation? Write. Write your way to it, then write your way through it. You are not beholden to anything outside yourself.

You are beholden only to yourself.

* * *

The Kick-Ass Writer: Out Now

The journey to become a successful writer is long, fraught with peril, and filled with difficult questions: How do I write dialogue? How do I build suspense? What should I know about query letters? How do I start? Where are my pants?

The best way to answer these questions is to ditch your uncertainty and transform yourself into a Kick-Ass Writer. This new book from award-winning author Chuck Wendig combines the best of his eye-opening writing instruction — previously available in e-book form only — with all-new insights into writing and publishing. It’s an explosive broadside of gritty advice that will destroy your fears, clear the path, and help you find your voice, your story, and your audience.

Amazon

B&N

Indiebound

Writer’s Digest

Post The Opening Line To Your Work-In-Progress

Here’s a critique challenge:

Post the opening line to your WIP.

Drop it into the comments below. Note that by doing so, you open yourself up to some criticism — but you are also free to discuss other opening lines, too. (And it’s also worth noting that an opening line is in no way the end-all, be-all of a story. While we often like to have perfect opening lines, sometimes it’s more about a perfect opening paragraph or an elegant first page.)

Either way, if you want to play, go to the comments, leave behind your opening line for some constructive criticism. (And those offering criticism — please keep it constructive, thank you.)

Tiddle Bits Of News — Aftermath, Zer0es, And More

[that’s some Mister Bones fan-art from E.V. Kwun — @geektrooper]

Some quick bits. Ready, steady, go:

First, Paste Magazine interviews me about Zer0es and Aftermath.

Then, Omnivoracious reviews Aftermath:

Aftermath has a challenging job: tell an exhilarating, page-turning tale centered on a handful of people on a remote world, while exposing the tectonic shifts in government and alliances among the galaxy’s population as the New Republic solidifies its wins. Interludes within the main storyline give the reader glimpses of familiar faces—Han Solo and Chewbacca, Mon Mothma, Admiral Ackbar—who are striving to make the New Republic something other than yet another government everyone will grow to hate. But the real fun is in Norra’s adrenaline-scorching adventures and in searching for clues about what will happen over the next thirty years during the galaxy’s journey to The Force Awakens.

I devoured Star Wars: Aftermath while on vacation in a lovely European country whose charms really should have torn me away from this book but rarely did. Whether you’re a Star Wars expert who immediately knows the difference between mynocks and Mandalorians or you’re a sci-fi reader looking for a good military yarn, Aftermath fires on all cylinders.

A Tosche Station, an English professor tackles the book from the perspective of whether the complaints that it’s “poorly-written” hold up  (and she has some thoughts on present tense, too):

This book is about war, pure and simple.  And though glorious as war may seem when viewed through the lens of the Star Wars movies, nothing could be further from the truth, and Wendig takes that on.  This book literally is the aftermath of the Death Star’s destruction, complete with the chaos and upheaval throughout the galaxy.

Past tense is, by its very nature, distancing.  It removes the reader from the action, no matter how well written.  Present tense, on the other hand, provides a sense of immediacy to the action, plunging the reader into the events taking place.  The present tense gives the reader the sense that this is happening right now, rather than a long time ago in a galaxy far, far away.  As the characters live through the events taking place, so do the readers.

Coffee with Kenobi reads and reviews the book:

Aftermath features myriad moments that are ripe for discussion (It’s worth mentioning that Wendig writes a wonderful Han Solo/Chewbacca moment that will leave you breathless), and may leave the reader with varying degrees of satisfaction. This was not the novel I was expecting, but it is certainly the novel I had a hard time putting down. It’s a paradoxical novel that provides hope and optimism for what is to come, while also providing the reader with a dystopian sensation that is slightly unusual for Star Wars. It’s a unique, fascinating, unorthodox novel, and after reading it, I am more glad for the news that it is part one of a trilogy than initially thought. If you like to have your conventions challenged, Aftermath is the Star Wars novel for you.

SFCrowsNest reviews it:

There’s a brevity in his prose and an immediacy that is suitable for this quick picture of a galaxy at a turning point. The literary equivalent of a rolling news channel. He writes his central characters well, too, with the relationship between Norra and her son being a particular highlight. I predict there’s one non-human character that readers will love, too.

If you were expecting the continued adventures of Han, Chewie, Luke and Leia then this novel will come as a disappointment, but if you’re keen to see what happens to the galaxy when structures of control have been destroyed and new alliances and opportunities are found, ‘Aftermath’ does a good job of showing how that might happen.

Fantasy Faction talks it up:

Chuck has kept the spirit of the original Star Wars movies – that cheesiness and goofiness we all loved so much – but at the same time made sure there is enough realism and grittiness so that it appeals to the tastes of readers today.

SF Book Reviews reviews the novel:

There is plenty of fast paced action sequences, speeder bikes, shoot-outs and such, including a scene where our rebel fighter encounters a Rodian and shoots first, an amusing touch for those who know their Star Wars (There are a few nods like this throughout the book). Wendig manages to capture the alien-ness that marks the strange Star Wars creatures but my favorite is the B1 Battle Droid (those annoying Robots in episode 1 which say “roger roger”) “Mr Bones” which has been re-engineered by Temmin as a kick-ass killing machine. He also manages to keep a family friendly approach too without this affecting his unique, charming voice.

The ending, when it comes is just superb and does what a book should, leave you wanting more – such as figuring out just who is really in charge of the remnants of the Empire.

Star Wars Aftermath almost makes up for that sweeping canon reset, a few more like this and Disney will be completely forgiven. A wonderful Star Wars adventure by a gifted author.

Simon McNeil reviews the book and also… well, reviews the reviews of the book, particularly looking at the negativity surrounding it. He sums up with (but you should read the whole thing):

  1. I’m a fan of Wendig who hasn’t ever read Zahn, make of that what you will

  2. The people who are trying to burn down Wendig’s book are jerks who smell like gamergating sad puppies

  3. It’s obviously a star wars book

  4. It’s a really good star wars story

  5. It doesn’t matter that Luke Skywalker isn’t in it

  6. Buy it.

  7. No seriously buy it.

  8. Right now.

  9. Stop what you’re doing and buy this book.

  10. Then read it.

And that’s all, folks.

Flash Fiction Challenge: Your Very Own Space Opera

Okay, first up, some administrative duties —

IT IS TIME TO NAME THE WINNER OF MY FAKE AFTERMATH SPOILERS CONTEST.

It was very hard to pick just one. So I have picked three. Those three are:

Ryan Allen:

Salacious Crumb, Jabba’s pet, indeed crawled maimed from the Sail Barge wreckage, going on to create a vast clone army of himself known as the Knights of Crumb.

Brandon Sparks:

Final Scene:

Wedge steps into his apartment on Rebel-occupied Coruscant. Weary from defeating the true villain (a 30-meter tall, weaponized Gonk droid piloted by the mind-controlled, reconstituted corpse of Jek Porkins), he tosses the keys to his X-Wing on the side table and reaches for the light switch.

The lights flicker, then fade.

Surprised, Wedge looks up to see a hooded figure standing across the room, silhouetted against the Coruscant cityscape. The figure speaks.

“Mr. Antilles, you’ve just stepped into a whole new galaxy. You just don’t know it yet.”

The figure turns and lowers the hood of his tattered Jedi robe, revealing a gleaming bald head and an eyepatch.

“My name is Mace Windu. I’m here to talk to you about the Lobot Initiative.”

Nick Nafpliotis:

Thrawn & Mara Jade make a cameo as nomads on Tatooine before being run over by a rogue podracer dubbed ‘The Canon.’

You three? EMAIL ME. Terribleminds at gmail dot com. Gimme your addresses, yeah?

Now.

Time for this week’s challenge.

It’s a simple one, and based off the fact that it’s been a very Star Wars-flavored week for me…

You should write 1000 words of space opera.

That’s it. Them’s the only rules. One genre. One story. Flash fiction. Normal rules apply: write it at your online space, link back here, due by next Friday (the 18th) by noon EST.

Big Star Wars Aftermath News

*makes lightsaber sounds*

*then runs around the room like an X-Wing*

*then explodes like the Death Star*

Hey, so, uhh.

I kinda didn’t think Star Wars: Aftermath was going to make list. In part because why would I assume that, and also in part because most books come out on Tuesday and this book came out on Friday and it was also a holiday weekend and, and, and.

Apparently, that was wrongo of me.

Because Aftermath debuted on both the New York Times list and the USA Today list at number four. Which is extra funny because it’s a pair of fours which is like Force and because my tweet wanting to be hired to write Star Wars in the first place was on September 4th and because the book then came out exactly one year later on September 4th and also because I actually apparently have the Force. *shoots lightning into the sky*

I continue to have people tell me that they really love the book and that they want action figures of Mr. Bones or want to hang out with Sinjir and it makes my heart sing because I’m hyper-geeked to have been able to ignite my own star in the sky of that universe. Good stuff.

Some more quick Aftermath-links for you:

Sci-Fi Now reviews the book, saying:

“Coupled with Wendig’s elegant prose, and you have a journey that is both breathtaking yet restrained, throwing you headlong into a story that reaches it’s crescendo at around the half-way point and maintains this pace throughout, while subsequently making it clear that all these events are just the beginning.

The clues for what lies ahead are there for those who want to look for them (especially during the intriguing final chapter), but for others this is Star Wars fiction at a high standard done well. The Force is strong in this one indeed.”

Drew McWeeny did a cool post at HitFix talking about the 11 things you might learn in Aftermath that links you up to the world of The Force Awakens.

The Mary Sue did a post about the, erm, fan outrage.

Ben Kuchera wrote a neat thing at Polygon about how his favorite thing about the books are the self-loathing totalitarians — an Empire in disarray and under the gun.

(Note, if for some reason all this good news chafes you because of how much rage the book stirs in you, you may want to consult Molly Templeton’s AFTERMATH NERD RAGE bingo chart for ease of emotional use.)

Also, if you want a chance to win this and other books by other awesome authors, note that Kevin Hearne is having a contest drawing for those who donate to UNHCR before 9/20 — you may, in fact, win a copy of Aftermath that he has personally annotated (!). Go check out the details.

Finally, if you’re done the book and require another sci-fi read about a scrappy band of ragtag miscreants who go up against a giant Empire (this one being the United States government) to battle a deranged self-aware NSA surveillance system then — *clears throat* — might I gently point you toward Zer0es? *prod, prod*

Social Media For Writers Is A Misunderstood Opportunity

You can sell books using social media.

You also can’t really sell books using social media.

The cat is both dead and alive.

Let me unpack this a little bit.

For quite some time, social media has been promoted by nearly everybody, including publishers, as a Very Good Way to SELL YOUR BOOKS. You have a Certified Platform. It is the place where you express your Authorial Brand. (My platform is cobbled together from the skulls of my enemies, and my brand looks like Calvin peeing on a tiny bigot.) Publishers say: YOU MUST TWEET. YOU MUST FACEYTALK. YOU MUST BLARGH ON THE BLOGS. Not-good publishers take this a step further and basically use an author’s social media presence — meaning, her brand and platform, or her “brandform,” if we’re into making up shitty corporate-speak — to sell the books instead of actually levying their own power as a publisher to do the same. (Note: if this is your publisher’s only marketing plan, please bill them for your time.)

And it has become quite understood across both traditional and indie publishing that This Is Now How You Sell Books. And that’s not entirely inaccurate.

But it is a little bit inaccurate.

You can, indeed, sell books on social media.

You can sell, depending on your outreach, 10s to 100s of copies of your books.

That’s not nothing. Every book sold is a pebble thrown into the water. And each pebble has the potential to make ripples that reach shores you had never previously reached. Word-of-mouth is the truest driver for selling your work, and where once our “circle of trust” in that regard was fairly small (and entirely IRL), it has grown much wider given our online networks. So, selling a book to even a single person has meaning. That person, if they like it, may go on and tell their friends (online and off) about the book. And they may tell their friends, and on and on.

Problem is, this is an effect with diminishing returns. You ping your social network a handful of times and after that, they start to feel besieged by the promotion. Here and there, “Hey, I have a book, and I want to speak earnestly about it?” That can work. But a constant barrage of LOOK BOOK LOOK BOOK HEY HEY HEY I WROTE A BOOK I WROTE A BOOK is you being a dog just wantonly humping legs. Maybe we’re not mad at you about it, but it’s still a little embarrassing for everyone involved. If you’re an author with a book out, it’s expected that you’ll advertise it, talk about it, and keep a little momentum going. But it’s also feared that you’ll become a nuisance with it, performing an action equivalent to hitting people in the throat with the damn thing.

So, to reiterate —

Social media can sell some books.

Publishers, however, don’t want to sell “some” books.

They want to sell all the books.

Selling 10s or 100s of copies is not enough to keep your publisher afloat, and it is not enough to justify your advance or their marketing budget (assuming that budget is more than just a shoebox full of bottlecaps and sadness). It will buy them and you too little whiskey.

No, your publisher wants to sell 1000s of copies.

So, how do you do that?

Mostly? You don’t.

The one aspect in your control here is the writing. You write the best book you can. Always and forever. Is this a guarantor of your success? Ha ha ha, fuck no. But it’s something, and at least you can feel good about the book you wrote. Writing a good book is not a prerequisite toward selling well, but it’s a noble, valuable start. Why, do you want to write a bad book? For shame.

Beyond that? Where do the sales come from?

It’s on your publisher.

The publisher has the means to push that book in ways that are both traditional and innovative — a variety of marketing and advertising efforts across the spectrum. Trade reviews and media attention and placement on tables and all that jazz is by and large up to your publisher and how much cachet and cash they have. Again, these things are not a guarantee for success, but remember how I said each book sold is a pebble thrown? Right, your publisher can throw a catapult full of pebbles. They have gatling guns capable of firing hundreds of pebbles a minute. Meanwhile, you just have your two hands. Your two ink-stained, Dorito-dusted hands.

Now, again, maybe you with your two hands can do better than your publisher.

But it’s less likely. Why is that?

Because success in writing and publisher is very frequently a game of luck.

But it’s not purely random luck — this isn’t fucking Chutes and Ladders, man (by the way, FUCKING CHUTES is probably a porn site so I’m sure I’m going to get some great search term hits from that). This is a luck you can tweak. Luck you can add to. Every pebble thrown is (in RPG terms) a modifier to your Luck score. So when the time comes to roll your Luck, well, you get a shot at a more favorable outcome because of all your modifiers.

(For self-publishers, the same thing applies but with the simple reminder that you are more than an author — you are an author-publisher. That’s why I prefer that term, because now you’re doing double-duty. You still can’t count on PURE SOCIAL MEDIA to sell your book. You gotta get savvy. Creative. And if you can’t do that directly…? Then you hire people who can.)

So, social media sells books.

Just not as many as you want.

And more importantly, not as many as publishers might hope.

Now you’re asking:

What, then, is the missed opportunity? The one mentioned in the post’s title?

Social media is not great for authors selling books.

But it is an excellent way to make and cultivate professional connections — and, dare I say it, friendships. Listen, social media is a fucking gonzo great place to hang out with other writers, editors, artists. It’s an awesome place to meet agents, bloggers, booksellers, librarians, readers. It is a fundamental vortex of book-love. You can meet people telling stories across a wide variety of media: books, comics, movies, games. Just talking to folks — and being the best version of yourself when you do it — is another way to throw pebbles. But what you build here aren’t front-end sales. It’s a kind of personal infrastructure. People are awesome. And people make up the industry in which we hope to work. I don’t mean you should get on social media just as some crass promotional exercise — a way to “get work.” But it is a damn good way to meet like-minded folks and learn things from one another. That has huge professional and personal value.

Worry less about selling books online.

Worry more about being a COOL HUMAN meeting other COOL HUMANS.

That last one will take you far.

* * *

ZER0ES.

An Anonymous-style rabble rouser, an Arab spring hactivist, a black-hat hacker, an old-school cipherpunk, and an online troll are each offered a choice: go to prison or help protect the United States, putting their brains and skills to work for the government for one year.

But being a white-hat doesn’t always mean you work for the good guys. The would-be cyberspies discover that behind the scenes lurks a sinister NSA program, an artificial intelligence code-named Typhon, that has origins and an evolution both dangerous and disturbing. And if it’s not brought down, will soon be uncontrollable.

Out now from Harper Voyager.

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